Albrecht Düret is widely regarded as one of the greatest artists of the sixteenth century, owing to the distinct style he pioneered and the versatility of his portraits. The northern mannerism and the Panting in Venice and the Veneto are two paintings from this era that have piqued the attention of collectors (Wisse, “Albrecht Dürer (1471–1528).”). The Northern Mannerism concept arose from the style he coined and which other artists adopted, which featured distinctive and stylistic thematic arts (Wisse, “Northern Mannerism in the Early Sixteenth Century”). Most of the works in the early sixteenth-century mannerism were entirely based on Antwerp that had its centers in various parts of Europe including France, Germany, and Holland.
Image of the Northern Mannerism in the Early Sixteenth Century. Image obtained from Timeline of Art History (Wisse, “Northern Mannerism in the Early Sixteenth Century”).
I was particularly inspired to select the Northern Mannerism after realizing that it had so much influence in the present day economic capital in Europe following its inception. The topic, therefore, stood out because it made me realize that the emergence of Europe as an economic powerhouse is rooted to the artistic culture and the imaginative architecture that was characteristic in many parts of Europe as a result of the spread of the Northern Mannerism (Wisse, “Northern Mannerism in the Early Sixteenth Century”). The artwork changed the way I perceive visual culture because to me, it turned out that despite the lack of technological developments and marketing systems that are common in the present day artists were still able to market their artistic productions. It dawned on me that given the talent that Albrecht Dürer and other artists possessed, they were able to use art and works of architecture to change the face of Europe in entirety.
Another work that has been of particular interest in the sixteenth century was his Painting in Venice and the Veneto that is described as an inspirational and enduring image in the history of European art. The artwork is indebted to Titian or Veronese and is arguably the oldest form of art that featured in Italy at the time. The work is perceived as The Triumvirate and comprised of the Titian, Veronese, and Tintoretto, through it is apparent that Veronese had the most effect despite the fact that the Titian was the oldest of the three (Bayer). An image of the artwork is illustrated below.
Image of the Sixteenth-Century Painting in Venice and the Veneto. Image obtained from Heilbrunn Timeline of Art History (Bayer).
I was inspired to select this painting because of the manner in which it popularized the artists who originated the style. It is believed that the effect of the Painting in Venice and the Veneto was so critical that Veronese had not trouble pursuing his civic mission in Venice because of the fame that he had felt due to the spread of his paintings across Italy. The work of art thus ensured that I changed my appreciation of art and production because I realized that despite the lack of technological developments, it was still possible to market one’s products and gain fame in art. It means, therefore, that production does not necessarily call for sophisticated equipment but rather, talent. Overall the two works of the sixteenth century have enabled me to comprehend not only the lecture material and the course concepts and objectives but it has also increased my appreciation of the historical developments across Europe regarding art.
Works Cited
Bayer, Andrea. “Sixteenth-Century Painting in Venice and the Veneto.” Heilbrunn Timeline of Art History (2006): n. pag. Web.
Wisse, Jacob. “Albrecht Dürer (1471–1528).” Heilbrunn Timeline of Art History (2002): n. pag. Web.
---. “Northern Mannerism in the Early Sixteenth Century.” Heilbrunn Timeline of Art History (2002): n. pag. Web.
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